cedent which most clock-painters have followed ever
since.

Charles watched Washburn at work. One reason for his interest was that
it dealt with gilt. The old painter took such a fancy to the lad that he
wanted him to become his apprentice and succeed him as the first
clock-face painter of his time. But this work seemed too slow for the
future magnate.

* * *

Now came the first business contact of a Frohman with the theater, and
here one encounters an example of that team-work among the Frohman
brothers by which one of them invariably assisted another whenever
opportunity arose. Frequently they created this opportunity themselves.
To Gustave came the distinction of being the first in the business, and
also the privilege of bringing into it both of his brothers. Having
hovered so faithfully and persistently about the edges of theatricals,
Gustave now landed inside.

It was at the time of the high-tide of minstrelsy in this country--1870
to 1880. Dozens of minstrel companies, ranging from bands of real
negroes recruited in the South to aggregations of white men who blacked
their faces, traveled about the country. The minstrel was the direct
product of the slave-time singer and entertainer. His fame was
recognized the world over. The best audiences at home, and royalty
abroad, paid tribute to his talents. Out of the minstrel ranks of those
days emerged some of the best known of our modern stars--men like
Francis Wilson, Nat Goodwin, Henry E. Dixey, Montgomery and Stone,
William H. Crane, and scores of others.

One of the most famous organizations of the time was Charles Callender's
Original Georgia Minstrels, hailing from Macon, Georgia, composed
entirely of negroes and headed by the famous Billy Kersands. Ahead of
this show was a mulatto advance-agent, Charles Hicks. He did very well
in the North, but when he got down South he faced the inevitable
prejudice against doing business with a negro. Callender needed some one
to succeed him. A man whom Gustave Frohman had once befriended, knowing
of his intense desire to enter the profession, recommended him for the
position, and he got it.

All was excitement in the Frohman family. At last the fortunes of one
member were definitely committed to the theater, and although it was a
negro minstrel show, it meant a definite connection with public
entertainment.

No one, not even Gustave himself, felt the enthusiasm so keenly as did
little Charles, then twelve years old. H